Twitch: The Gift that Keeps on Giving but Not Necessarily in a Good Way

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Upon mature and sober reflection it is clear that I am not part of the core demographics associated with Twitch and the culture of live streaming. That is not to say that I don’t “understand it” in that tedious old person idiom, You know that cultural construct where people from one generation just arbitrarily decide to not get and deliberately be at odds with something the young folk do. Nope, I get the whole streaming thing. That’s it’s about communities, engaging and entertaining your audience in a way they find fun and accessible. Twitch can be many things to many people. So I do get it, okay. I just don’t especially care for it. That’s just me and my personal taste, shaped by my age and cultural baggage. I prefer longform content and intellectual rigour. Twitch is more weighted towards fun and the superficial. There’s nothing wrong with either of those things but I find people trying to be excessively upbeat, striving to be humorous (when so many of us patently aren’t) and “right on” to be a little wearing at times.

Like any sort of social media platform, Twitch has grown and evolved overtime. Therein lies part of the problem. A percentage of early adopters see it purely as a core gaming medium and don’t care for its varied and more social contemporary uses. And like any public forum, be it physical or virtual where human beings congregate and interact, the wider socio economic and political complexities of western culture bleed through and impinge upon events and behaviour. If you add the financial benefits of being a successful streamer and influencer, along with the ego issues associated with any kind of performance art, there’s plenty of scope for people to assume positions of self appointed gatekeepers and for any debate to turn into a shit storm. It is also worth pointing out that certain spaces that start out as being male dominated often become more accessible over time. This often leads to conflict with one group feeling, rightly or wrongly, that they’ve been thrown out of their own party.

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He doesn’t like her or something like that

So with this in mind, I’m sure it won’t come as a surprise to anyone that Twitch is the regular source of controversies. If you cast your mind back to 2015 you may recollect "concerns" about the sartorial choices made by some female streamers. In fact one “popular streamer”, Sky Williams (remember that asshole), decided to post a video expressing his “thoughts” on the matter. I'm sure you can figure out what happened next. As ever there was a succinct distillation over at Kotaku. Then in 2019 Twitch started cracking down on what they labelled as “sexually suggestive” apparel, after streamer Quqco wore a Chun-Li cosplay outfit, which led to her being suspended for three days. The latest instalment in this tedious, episodic saga is “Hot Tub streaming”. Yes, that is a thing and as you can probably surmise, it has proven a boon for some streamers (have a guess which ones) and has antagonised others (again tax your brain and see if you can figure out who).

I wonder how many of the participants in any of these debacles have stopped for a moment, taken a step back and considered how it looks to the wider world? Precious few I would hazard a guess. Furthermore, the net result of this dispute is that more and more reasonable and level headed gamers withdraw from engaging with the wider community. This is particularly relevant for female gamers. I consider the marginalisation of any group to be an act of folly.  However, when you look at this issue that has persisted on Twitch over the years, it comes down to two main reasons. Those who wish to maintain the status quo that serves their needs. Namely old school, male core games who see the platform as “their bat and ball”. And then there’s the perennial “problem” of women entering an alleged shared space and using it successfully, much to the chagrin of the self appointed gatekeepers.

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Sleep streaming is also a thing

I find all arguments regarding how a female streamer should dress and the subsequent impact that it has upon the medium, as spurious. Too many are based on subjective moral and ethical viewpoints. Therefore, there are no absolute truths to be found here and such nuanced subjects shouldn’t be presented as a binary argument. Often the ultimate arbiter is the law often. As for Twitch, it has specific guidelines regarding dress standards and as long as streamers stay within those then the matter is effectively closed. Hence "slut shaming" or labeling people "Twitch frauds" are just tiresome strawman arguments. You only have to read some of the comments on the Kotaku articles, linked above, to see opinions shaped by cultural, religious and political agendas. Many seem to have more than a whiff of moral superiority and that misplaced mindset that mistakes a strongly held personal conviction as a universal truth. 

The fact that there is serious money to be had from live streaming also muddies the waters and makes things far more contentious. Is this really about an ethical issue or the fact that someone has figured out a marketing schtick that is supposedly more effective than another? It's curious how advocates of an unfettered free market suddenly adopt a far more protectionist approach when they suddenly find themselves on the wrong side of a dividing line. There is an element to this debate that is remarkably similar to the political smack talk or corporate rivalry. What's more it's rather insulting to your audience to try and dress up your business concerns as moral outrage. I'd respect some people a lot more if they simply said this is about making money and that they feel their line of revenue is under threat co’s someone else out thought them.

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“Hello, I’m an academic” (Noam Chomsky to be exact)

It has been postulated by many academics that this is the century of "self" and that western culture has effectively given up on wider socio-political ideologies. Rather than work cohesively as a collective for our mutual benefit, we simply apply our consumerist outlook to all situations. We equate our personal expenditure as means of gaining individual representation. Everything is viewed and analysed through the prism of how it affects us personally, rather than as a group. This manifests itself in all aspects of our life, including gaming. Couple this with a decline in critical thinking and the ability to effectively debate and you end up with something like the current bunfight over “Hot Tub streaming”. Thus, by our own hands we fashion the very walls that divide our community. Furthermore, we fail to learn the lessons from the previous debacle. What was that quote again about why we can't have nice things?

LOTRO: The Further Adventures of Bilbo Baggins

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I was hoping that 2021 would be a good year for the MMORPG, The Lord of the Rings Online. New owners, along with hints at a revised community relations policy and a recent roadmap for future content have all been positively received by the game’s stoic community. Furthermore, the recent demise of the LOTR based MMO by Amazon Game Studios has eliminated any immediate competition. Sadly, two things have occurred recently indicating that developer’s Standing Stone Games are still tone deaf to the player feedback and lacking in any tangible long term vision for the game. The first was a statement made by Executive Producer, Rob “Severlin” Ciccolini, regarding Legendary Items in the game and the subject of grind. The second was the new “Further Adventures” quest arcs, as described in February’s Executive Producer’s Letter, which uses the “missions” system that was added to the game in Update 28.

According to Mr. Ciccolini you cannot remove Legendary Items from LOTRO for the following reasons. “We want players to have things to do while they are leveling. I know that some players are ‘Oh, this is too grindy and sometimes we overdo it,’ but ‘grindy’ doesn’t scare me as much as ‘I don’t have enough to do.’ ‘I don’t have enough to do’ is worse because players want to play the game but they don’t really have goals to pursue. [If the LI system is removed], a couple things happen: One, players become much more reliant on weapon drops and if they don’t get the weapon drop they want, their DPS will lag […], and two, a weapon drop is one-and-done; we want to make sure that when [players] get a weapon they can then develop it”. (This quote was taken from Q&A with Severlin live stream on Friday April 16th)

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There’s a lot to unpack in that statement and none of it is good. LOTRO players can be very innovative with regards to finding things to do in the game. Levelling alts, crafting, role playing, completing deeds, trading on the auction house, furnishing their homes, min-maxing, exploring the world, enjoying the festivals and hanging out with friends are but a few I can think of. So claiming that without grind there would be no “goals to pursue” is spurious to say the least or alternatively a statement of unparalleled ignorance of one’s own game. However, even if we accept this statement, offering grind instead or real content is hardly laudable. Plus as fellow blogger Wilhelm Arcturus said in comments left on the YouTube Q&A video, if SSG pursue a course of action justified by this erroneous supposition, it simply proves that they’re “committed to bad game design”.

Frankly, I often get the impression that SSG simply does not understand what attracts people to the MMO genre per se. They seem to see their own games as far more of a live service rather than an example of a massively multiplayer online game, in the classic sense. I also feel that the major decision makers over at SSG are somewhat behind the curve with regards to modern developments and changes in the MMO genre and are possibly very entrenched in their ways. Their attitude toward community relations certainly seems archaic. It may also be a case that the ebb and flow of staff over the years has left them with serious skills gaps. All the new content that is added to the game has a tendency to be very formulaic and simply variations on existing themes. I don’t think that the staff actually know how to create certain content anymore and integrate it into the game. 

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Which sadly leads me to “The Further Adventures of Bilbo Baggins”. This is the first of a series of self-contained, episodic story arcs that use the “missions” system. Launched yesterday and currently available free using the redeem code SAVEBILBO, this new content is simply underwhelming and lacklustre. It is entirely built upon existing game assets and offers nothing new other than the very simple narrative. Each instalment requires the player to port to an instanced section of the existing game world and kill a few waves of standard mobs. It is not especially difficult or fun to be honest. It’s all somewhat disappointing and mundane. I find it most concerning that SSG intends to charge for this content after the promotional period ends and have more material of this kind in development. Overall this is a very inauspicious content update and does not bode well for the remainder of the year. Let us hope that the imminent 14th anniversary celebrations are more creative.

LOTRO: A Golden Opportunity

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Back in Summer 2019, Amazon Game Studios announced it was co-developing a new free-to-play MMO set in Middle-earth, along with Athlon Games. The latter was at the time a subsidiary of Chinese publisher Leyou Technologies. However, in December 2020, Tencent bought Leyou Technologies which led to a series of contract renegotiations and reviews of ongoing projects. According to Bloomberg these negotiations did not go well and as a result, the new MMO has been cancelled. A spokesperson for Amazon recently stated that “we have been unable to secure terms to proceed with this title at this time. We love the Lord of the Rings IP, and are disappointed that we won't be bringing this game to customers”. Hence, Amazon will not have a complimentary game for their upcoming $1bn Lord of the Rings television series. At this point, possibly the only people who are happy with this outcome are Standing Stone Games, the developers of The Lord of the Rings Online.

LOTRO still exists today, 14 years after its launch, for several reasons but a major factor is that it is the only Tolkien based MMO in existence at present. Players endure the game’s numerous rough edges and age because of their dedication as fans and the simple fact that there's nowhere else to go. I, as well as many other LOTRO players, were curious to see what sort of game Amazon Game Studios could produce. If it had provided certain key elements of game play, along with a good artistic interpretation of Middle-earth, then I would have definitely considered playing it. But that is no longer an option. LOTRO remains the only MMO of its kind for the present and as a result I’m sure the current player base will remain loyal. However, I don’t think that SSG should be too complacent. The current situation is a bit like living in a small town which only has one mall to hang out at and one night club to go to. No matter how poor or inadequate they are, they'll get a degree of patronage purely by default. Hardly an edifying business model.

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If you’re familiar with my gaming history, you’ll know I enjoy LOTRO but I clearly recognise it is far from perfect. It's age is one reason as the game was conceived and designed to serve the needs of the MMO genre of 2007. Over the years it has been revised and augmented. It has reached a point in its life cycle where it has an established player base and sufficient revenue to continue producing content. However, possibly due to staff changes and a reticence to tinker with fundamental aspects of the game, we have reached a point where nothing radically new is being added to LOTRO. To invoke a food based analogy, if the MMO genre is comparable to the fast food industry, then LOTRO is a sandwich shop. Its sandwiches are different to its competitors but beyond that, all it can offer its customers are different fillings. If you want a tea cake, forget it.

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With the immediate competition out of the picture for the present and new owners EG7 genuinely interested in developing and supporting LOTRO, SSG appear to have a golden opportunity to refine and improve LOTRO. By developing some of the features that have been put on hold over the years and removing those that have proven unpopular, arcane and unwieldy, much could be done to increase the game’s longevity. Furthermore, a renaissance in their communication strategy could be instrumental in rebuilding community bridges and getting the player base onboard with a long term plan. Yet my past experiences with LOTRO leads me to believe that such an opportunity is likely to be squandered. I have seen no evidence thus far that SSG have a plan and even if they do, their continuing Johnny Tightlips routine is counterproductive. If Amazon’s new MMO hadn’t been cancelled, I wonder if things would be any different?

Classic Movie Themes: An American Werewolf in London

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An American Werewolf in London is a genre milestone and one of the few horror films that successfully manages to balance humour and suspense without mitigating the overall tone of the story. 40 years on from its theatrical release it still holds up well with its bitter sweet love story, tragic themes and ground breaking transformation effects by Rick Baker. Director John Landis never really bettered this concise and effective genre outing. It hits the mark in virtually every part of the production. However, there is one aspect of the film that does suffer as a result of the director’s personal choices. Whether it is to the detriment of the overall film is debatable. The point in question is the film’s soundtrack and the director’s focus upon the song Blue Moon by Richard Rodgers and Lorenz Hart.

Hollywood veteran, Elmer Bernstein, was commissioned by Landis to write the score for An American Werewolf in London. But Landis had already decided to use a selection of songs to play during key scenes. All of which referenced the moon in some fashion, thus ironically highlighting the significance of the lunar cycle in lycanthropy. Hence the film starts with Blue Moon by Bobby Vinton playing over the opening credits. Moondance by Van Morrison is used during a love. Bad Moon Rising by Creedence Clearwater Revival accompanies a scene where the lead actor David Naughton anxiously paces round Nurse Price’s flat. Then perhaps the most notable use of a song is during the iconic werewolf transformation scene, which features Blue Moon by Sam Cooke. Finally, the end credits roll to a doo-wop version of Blue Moon by The Marcels.

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The use of these songs is appropriate and more to the point works within the context of the film. I certainly understand why John Landis chose to juxtapose the shocking imagery of the werewolf transformation sequence with the sweat and wholesome tones of Sam Cooke. However, it does raise the question why employ such a canny and talented composer as Elmer Bernstein if you’re not really going to use their work. Because Bernstein did indeed compose a cue specifically for the werewolf scene, despite being told by Landis that it wouldn’t be required. He apparently produced a lot more material for the film that wasn’t used but did so as a safety net in case Landis could not secure the licenses for the songs he intended to use. You can find a detailed account of the story behind this decision over at Hollywood and All That, which makes for interesting reading if you’re a movie trivia aficionado. 

There has never been a comprehensive or in fact any kind of release of Elmer Bernstein’s score for An American Werewolf in London. Soundtrack albums associated with the film tend to focus on the songs. There is a disco album by Meco called Impressions of An American Werewolf in London, which is best not talked about. However, one of the unused cues for the film surfaced in 2005. Composer and arranger Nic Raine specialises in re-recording classic film soundtracks in conjunction with the Prague Philharmonic. The Essential Elmer Bernstein Film Music Collection features a track called “Metamorphosis”. It is a five minute piece with two distinct phases. It has subsequently been determined that part of this is indeed the cue that Bernstein wrote for the werewolf transformation. Furthermore, attentive listeners have determined that elements of this track were used in Michael Jackson’s Thriller, which was also directed by John Landis and credits Elmer Bernstein for scary music.

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At present, there are only bootleg scores for An American Werewolf in London or YouTube videos featuring music extracted directly from DVD or Blu-ray releases of the film. One such track circulating under the title “An American Werewolf in London suite”, features just under 4 minutes of material from Bernstein’s soundtrack. I have included it here because, despite its brevity, it includes the beautiful central motif played on piano.

As a bonus, we also have Nic Raine’s re-recording of the lost “Metamorphosis” cue. Perhaps one day a comprehensive reconstruction of the entire score will be undertaken. Until then enjoy these two tracks.

Nintendo Switch: The Console That Keeps Charging You For Extras

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Last September I considered buying a Nintendo Switch but decided to defer doing so. This was mainly because, despite having a unique back catalogue of games, I didn't feel at the time there was a single “must have” title. However since then, I have been subject to increased lobbying from my Granddaughters. They’re going to be six in June and are now at an age where instead of just watching others play games, they want to actively participate. Plus they have encountered console gaming at their Uncle’s house. At present, the only child friendly game I have on the PC is Fall Guys: Ultimate Knockout. This means playing in the office, which doesn’t easily facilitate one adult and two, fidgety children. So I finally capitulated and bought a Nintendo Switch yesterday. It arrived today.

Setting the Switch is easy, as is creating an online account with Nintendo. Connecting it to the TV in the lounge was also straightforward and simple. I wish I could say the same about adding a new name to the TV’s list of source inputs but that is a matter I need to take up with Samsung and not Nintendo’s problem. Let it suffice to say that within an hour of unboxing my shiny new Switch I was good to go. Accept that I actually wasn’t. I had just one controller and no games. So I subsequently bought a code for Mario Kart 8 along with an additional wireless controller, so that sofa based, two player gaming could be indulged. Now I was impressed how quickly it took to download and install the game after inputting the code. But I wasn’t blown away by the amount of storage the Switch has. So I then had to buy a 256 GB Micro SD card. Oh let’s not forget if you want to save your games via the cloud and do social stuff, you need Nintendo Switch Online, which is a subscription service.

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Nintendo products and the brand itself occupy a unique niche within the video games industry and gaming culture. They do what they do extremely well and as a result have a strong fan and consumer base. I say this to demonstrate that I’m not anti Nintendo per se. But damn, don’t they like charging you for every little thing conceivable? I’m pretty certain that when I bought my first SNES back in the early nineties, at least it came with two controllers. You could also buy the console bundled with a game or two. I am fully aware that you can do that now with the Switch but not with any significant discount. All bundles I’ve seen appear to be at the same price as buying the items individually. Also, there doesn’t seem to be the culture of discounting older titles. Switch games on physical media are expensive and their digital equivalents even more so.

I am not a wealthy man, nor am I hard up. But I do find it somewhat annoying when companies pursue this “sell everything separately” approach. The Nintendo Switch cost £280. Mario Kart 8 Deluxe a further £50. A 256 GB Micro SD card a further £33. A second wireless controller (non-Nintendo) added a further £34 to the bill. Oh and let’s not forget £7 for 3 months access to Nintendo Switch Online. A total of £404 to finally be in a position for two players to adequately enjoy gaming together. I worry for those non-tech savvy people who decided to buy a Switch for a child only to find that their original budget is not going to cut it. It would be nice if Nintendo did a comprehensive starter pack with some sort of discount. However, upon mature reflection that is not really likely, is it? But setting these gripes aside, I am glad I finally bought a Switch. Mario Kart is still a sublime and near perfect title. And I’m also looking forward to playing games on a handheld device. I just don’t see my Switch expenditure being as profligate as my spending on PC gaming.

Star Trek Online: Delta Recruitment Event

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Consider any MMORPG that has been around for a few years or more and you'll often find a game that is weighted towards the endgame and the players at level cap. New content often overlooks or even excludes players just starting out or those at intermediate levels. Furthermore, players that have drifted away from a game are often faced with the dilemma of returning to a character that they have forgotten how to play. The most practical solution to this is to simply create a new alt and start from scratch. However for a lot of players this is not a particularly inviting option. Repeating old content can be dull and singularly unrewarding. And for the new player, starting out and trying to catch up with the rest of the community or their friends who are at level cap, can frequently feel like an uphill struggle. It can be very frustrating when friends, colleagues and guild mates are playing the latest missions and you’re still mixing it down in the starter zones. 

Cryptic have come up with an interesting solution to this conundrum with their Delta Recruitment event for Star Trek Online. This is the third time they have run this incentive scheme. The Delta Recruitment event is a promotion by which players creating new 2409 Starfleet, Klingon Defense Force or Romulan Republic characters and replaying through existing content are offered a variety of rewards and bonuses. These include enhanced XP, a bespoke Delta Recruit Trait and the ability to earn additional Dilithium Ore with each NPC defeated. There are also account wide benefits to be had. Each time a Delta Recruit completes a particular task an Account-Wide Reward is unlocked, which is claimable once by every other character on that account. There are many other positive benefits associated with the event, which can be found on the Arc Games website. The Delta Recruitment event runs from April 15th on PC and May 13th. Any character created during the Event will remain a Delta Recruit indefinitely, allowing players to progress through objectives at their own pace.

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Star Trek Online has come a long way over the past eleven years and the game has been continuously streamlined and refined. The story missions are very well conceived and certainly capture the essence of all the various Trek shows. It is also one of the few MMORPG with an equitable business model. Hence,The Delta Recruitment presents a perfect opportunity to start playing Star Trek Online or to return to the game if you’ve played in the past. This isn't just a case of offering a few superfluous baubles and trinkets. It is a comprehensive scheme to engage with players and offer them an enhanced experience as they journey to level cap. Furthermore, the influx of new players makes playing socially and grouping very accessible. There are plenty of friendly Fleets (guilds) that are happy to welcome new players. Alternatively, you may wish to create one of your own and establish a starbase and other resources with your friends. 

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The Star Trek franchise is booming at present, with further seasons of Picard and Discovery on the way and Strange New Worlds currently in development. I have always had a soft spot for Star Trek Online, not only because of my love of the IP but because of the way it continuously reinvents itself and refines its game systems. Cryptic make blunders from time to time as many games developers do but they seem to have a genuine philosophy of self improvement. Plus so many MMORPGs are set in a generic sword and sorcery environment. Star Trek Online is founded upon an IP that has a track record of providing good quality, intelligent and challenging narratives. Not many games have such a distinguished pedigree. Therefore if you are considering returning to STO or playing for the first time, now is a great time to do so. The Delta Recruitment event runs from April 15th until May 13th.

Death Race (2008)

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I must admit that I did not have particularly high hopes for Paul W S Anderson's remake of the 1975 Roger Corman produced cult classic. Anderson’s work varies greatly. Event Horizon and Soldier are solid genre films but I still have not fully come to terms with Alien vs. Predator. Jason Statham is also a name that divides the public, with solid material such as The Transporter and unfathomable tosh like Revolver. But despite these considerations, Death Race is in fact quite a surprise and does not follow the path that so many remakes do. It takes the basic themes and concept associated with the original and tries to do something different with them. It doesn’t reinvent the wheel nor is it a genre milestone. But it does offer a different spin on things, have some engaging action scenes and provide some dumb but enjoyable entertainment. When combined with snacks and some beer this is a passable way to kill 111 minutes.

Death Race is not an exact retread of the original movie. It bears more similarities to Arnold Schwarzenegger's The Running Man but avoids any attempt at social commentary. The plot is very matter of fact and established very quickly. In the near future, the US has suffered a complete economic collapse. Unemployment and poverty stalk the land, like two giant stalking things (to quote Blackadder). Ex-professional driver Jensen Ames (Jason Statham) is framed for his wife’s murder and ends up in the proverbial big house. Evil Warden Hennessey (Joan Allen) who makes a profit from the prison system by staging a brutal set of fatal demolition derby’s, blackmails Jensen into driving under the guise of punters favourite, “Frankenstein”. The deal is that he’ll earn his freedom if he co-operates. He is aided in his endeavours by institutionalized mechanic “Coach” (Ian McShane) and his navigator Case (Natalie Martinez). 

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Death Race is actually an honest action movie, avoiding the usual pitfalls of being too OTT or having delusions of grandeur. The script is tight and serviceable, not straying from the accepted formula. There are no major surprises but it is not predictable to the point of tedium. The visual feel and production design are solid and the stunt driving and FXs work are good. There are several affectionate homage to well known road and action movies. The violence is strong but not gloating or gratuitous. For a genre piece, the actors and performances are above average. It’s nice to see Joan Allen indulge in action movie smacktalk. “Okay cocksucker. Fuck with me and we’ll see who shit’s on the sidewalk!” The soundtrack is also very appropriate for the subject matter, with a good selection of songs and metal riffs.

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 Director Anderson meets audience expectations with Death Race. Don’t get me wrong, this film is still a somewhat niche market product. Fans of costume dramas and character studies will still struggle to define the film's philosophical subtext. But for those wanting a fix of old school action with a squared jawed hero, you can’t go far wrong with Death Race. The film was sufficiently successful to spawn three direct-to-video sequels. Death Race 2 (2010), Death Race 3: Inferno (2013) and Death Race: Beyond Anarchy (2018). However, Jason Statham didn’t see fit to return so is conspicuously absent from them. He is replaced by Luke Goss in the first two follow ups and then Zach McGowan in the last. The budgets and quality decline exponentially as the franchise progresses, as is often the case with these sorts sequels. So I can’t recommend them to anyone but the most ardent genre aficionado.

Nothing Further to Say?

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This image has no “bearing” on the post

Today, I was going to write a post about the controversy surrounding the video game Six Days in Fallujah. I read up on the relevant background material and then started making bullet points regarding my own personal opinion. While doing so I had a sense of deja vu, so I started looking back through previous posts I’ve written on comparable subjects. And my suspicions were confirmed. The basic points I wished to raise, I had previously explored in a post about “the trivialisation of World War II”. So I decided to abandon the planned post about Highwire Games new FPS, because I wasn’t really offering anything new to the debate, as far as I was concerned. Subsequent reflection upon this matter has led me to the inevitable conclusion that once you regularly write about certain subjects for a decade or so, you eventually reach a point where you don’t have a lot further to say because you’ve probably said it already. Well, I think that’s where I’m at.

I am fully aware that not all of those who read Contains Moderate Peril and au fait with my previous posts. In fact, my website statistics show that a lot of readers are passing traffic that found the site due to a Google search. Hence it would be arrogant to assume that readers by default are familiar with my positions on various subjects and talking points. However, a percentage of my readership have followed my work for a while, in the same way that I have followed theirs. They leave comments both here and on social media. And I wonder if they’ve noticed my penchant for repetition? I do find that my film reviews often follow a pattern. I frequently complain about weak screenplays, underdeveloped stories and characters. It does make me think, do I need to broaden my thoughts or have I effectively reached a point of “nothing further to say” on certain subjects?

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Zippy is a popular character from the UK children’s TV show Rainbow

I wrote recently about the cyclical nature of the video games industry and despite certain technical advances, many of the problems from gaming twenty years ago are still with us today. I am beginning to think that this is the same for many other aspects of day to day life. Be it pop culture or politics. The pace of technological change shows no sign of slowing down but many traditional problems, usually those associated with human behaviour, remain conspicuously unchanged. Hence I still find myself referencing recurring issues such as corporate shenanigans, bandwagon jumping, consumer culture and that perennial favourite of confusing fandom with some sort of ownership. And once you become aware that you are repeating yourself, it does become a bit tiresome both for writer and reader. I don’t mind having a particular style but I don’t want to end up a one trick pony, so to speak.

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I like Sparks

So what can we conclude from this post which now seems like some written form of self therapy? Well I think I may have to just give some subjects a rest for a while. I am thankful that I made a choice back in 2008 to diversify my blog so that it covered more than just one game. I will still write about video games but I think I shall be far more particular from now on so I don’t just end up sounding like the old guy who sits, alone at the bar, banging on about the same old stuff. I think it’s also time to think outside the box and ensure that my film reviews are less formulaic. I shall also write more about real life stuff. For example, I had a hankering recently to write about property TV shows. I even have a post still sitting in the “drafts” folder about beds and the importance of a good night sleep. So don’t be surprised if some “weird shit” turns up in the next month or so. Oh, by the way. Does anyone else feel like this and that they’ve pretty much said their piece on a given subject over the years?

Same Meat, Different Gravy

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This is in fact Yorkshire Pudding with gravy, rather than meat but the analogy still stands…

Seeing Raph Koster back in the gaming news headlines has proven a timely reminder that no matter how things change, they remain the same. The video games industry has moved on in many ways with regard to technology and now enjoys mainstream appeal. However there are also areas where virtually no progress has been made. Hence Mr Koster’s protestations that the MMO genre has not yet reached its full potential. I started blogging about MMOs and other games around 15 years ago. I have an archive of my previous posts and spent some time recently looking at material I wrote back in 2007 and 2008. The subjects ranged from bad game launches, broken mechanics, staff redundancies, questionable business models, poor community relations and that perennial favourite, toxic communities. Many of which were written from the perspective of someone who was very invested in the genre and who had a degree of optimism for the future. Silly me to quote Paul Chuckle.

If you peruse any of the major video game news websites today, you’ll find that there’s still plenty of issues with bad game launches, broken mechanics, staff redundancies, questionable business models, poor community relations and asshole gamers. In fact the growth of social media has in some ways magnified these problems, bringing them to a wider audience’s attention, therefore intensifying any argument that may stem from them. The bottom line is its 2021 and nothing much appears to have changed. Magic Legends has had a broken soft launch. Outriders has had server issues. Dare I mention Cyberpunk 2077? Warzone continuously has to patch content that the previous patch has broken. Activision-Blizzard just made 190 staff redundant while their CEO got a $200 million bonus. Standing Stone Games have to be put in a virtual half nelson to talk to their customers. And just like a rat, you’re never more than six feet away from a douchebag gamer.

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“Boo”…

So why haven’t some things changed? Why are the usual suspects still pulling the same old shit? Why haven’t we reached the gaming “promised land”? Well there are numerous contributory factors that have led to the current outcome but perhaps the two biggest of these are the way capitalism functions and how consumers respond to this. Contrary to what some may believe, capitalism isn’t about giving consumers what they want but maintaining a financial status quo. The video game industry’s raison d'être is to make money for the shareholders and executive staff. The creation of a video game that is fit for purpose is a secondary consideration. And a large percentage of consumers continuously enable the worst practises of the big publishers. Buying into damaging business practises such as pre-order culture, early access, soft launches, road maps and live services. Like Joseph de Maistre’s quote about getting the government we deserve, the same can be said about triple A games.

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“Yay” etc.

Logically, it is not all doom and gloom. There are smaller game developers who have business relationships with less predatory publishers and between them good quality games are produced and sold. But not everyone has exposure to such products and companies. All too often it’s the wealthiest companies that have the biggest reach and thus dominate the market, despite selling flawed, broken and incomplete products. I may no longer be buying such games but I’m just one person. Sales data in the public domain shows that lots of other people are. Therefore, despite a growing degree of consumer pushback, I don’t think a critical mass is anywhere near being yet reached, which is why I don’t expect an industry wide sea change anytime soon. Hence I wouldn’t be at all surprised to find Mr. Koster is still evangelising the same ideas and concepts, a decade from now and that the MMO genre still hasn’t met its full potential. The only thing I am certain about is that Bobby Kotick will still be raking it in.

The Happening (2008)

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I revisited M Night Shyamalan's The Happening recently to try and determine whether he is indeed suffering from Orson Welles syndrome. IE that he has made all his best work at the beginning of his career. Because he’s never quite recaptured the critical or artistic success of The Sixth Sense, Unbreakable and Signs. I was one of the few that actually liked The Lady in The water but I could see why viewers would assume that he had become a victim of his own style and technique with that particular movie. Casting yourself as an author whose work will reshape society and change the course of history is at the very least, a little egotistical and at worst an act of immense hubris. Then in recent years we have had The Last Airbender and After Earth, both of which have performed poorly. However I thought I'd give The Happening another chance as it remains the directors only R rated movie to date.  

Elliot (Mark Wahlberg) and Alma Moore (Zooey Deschanel) are a married couple caught up in a mass panic spreading across the East Coast of the US. A wave of inexplicable suicides has started among the general public. They flee from New York with work colleague Julian (John Leguizamo) and his young daughter Jess, only to find that the disaster is spreading further West across the country and becoming more accurate in targeting humans. What was initially assumed to be an act of bio-terrorism turns out to have a far more esoteric answer. Writer and director M Night Shyamalan focuses on the perennial theme of how humans deal with extreme situations and threats to their own mortality. There are also some interesting ideas about the environment and nature being a living entity that responds when the balance is drastically altered. The topical matter of the ongoing decline of the honey bee is also a facet of the plot.

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Sadly, while the initial premise is intriguing, its execution adds further weight to the argument that Shyamalan should defer to more accomplished screenwriters capable of developing his ideas more effectively. Despite a reliable cast of character actors, the dialogue is obvious and at times crass, leaving all concerned with little to do except emote sincerely. There is also an air of sanctimony about the screenplay that rather spoils the interesting premise. Once the ecological plot twist is revealed the narrative takes a somewhat didactic tone. The central characters are also somewhat weak and not especially likeable. A rift in the main protagonist's relationship turns out to be only minor. It would have been far more challenging if one was actually an adulterer, thus making their redemption harder to achieve. A greater sense of societal panic is also absent. The film needs clearer examples of social disorder and breakdown to reinforce the magnitude of events

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 Yet despite these criticisms, there are some sequences that show a great deal of creative flare. There's a shocking scene when construction workers start to hurl themselves from the roof of the building they're working on. A tracking shot following a Police officer's handgun as it is used in subsequent suicides, is also impressively realised. Once again, composer James Newton Howard embellishes Shyamalan's work with an exceptionally clever and subtle score. The two seem to have a very good creative relationship. Upon its initial release, the distributors made much of the film’s rating. Perhaps they saw this as it's only virtue. There is more violence compared to his other work. Given the subject matter this is understandable. Overall The Happening is a missed opportunity. Again I feel that Mr. Shyamalan's work would benefit from an additional writer to strengthen his weaknesses and curb his excesses. Sadly several movies on from The Happening and the same mistakes keep getting made.

24 Hours Without a Smartphone

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I left my phone behind while visiting family this week. However, I was told not to worry as someone would drop it off to me. However, I wasn’t told that the person doing this good deed had to work their night shift first. So I had to wait 24 hours. C’est la vie. It was my mistake. In the meantime I had to adjust to life without a phone. Or to be more accurate, adapt to life without a smartphone. So I dug around in my cupboards and found an old handset that used to belong to my Father’s. It's a Maxi-Key model which is designed for the requirements of senior citizens who aren’t good with technology. It has large keys and 8-Bit style ringtones that sound like they come from some insane Super Nintendo game. It is functional so far as I can make and receive text messages and phone calls. However it has none of the internet functionality of my Samsung S10 5G and as a result I have become starkly aware of how much I've grown accustomed to the trappings of the modern smartphone.  

So I found myself in a curious situation where I felt effectively "disconnected" from things. Although it never reached a point where it is anything other than an inconvenience, I am surprised at just how much I missed my smartphone. It really does highlight how we as a society have become dependent on such technology, not only as a practical tool but also as a source of entertainment and possibly a psychological support. I felt very much out of the loop during this 24 hour period and would fret about whether I was missing out on something, although exactly what they may be, I had no idea. When out, I felt the same way I do when I travel without a watch. Which is to say not fully dressed. I have found this entire affair more perplexing because of my age. This malady that I experienced is something I would usually associate with people half my age. I have certainly had to re-appraise my prejudices regarding youth and technology.     

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A smartphone offers both practical benefits and amusing diversions. Personal preferences determine exactly what apps you install but I’m sure I’m not unique in my phone usage. I often plan my travels via my phone, using rail timetables and Google maps to ensure an optimal journey. I also use my handset for online banking and ad-hoc purchases. It has also helped me find a decent restaurant when visiting places I am not familiar with. Pre-pandemic I would flash a QR code instead of a ticket at a member of staff to get into a movie theatre. On one occasion an intensive search allowed me to track down the premier purveyor of cheese in the South of England. Smartphones have also afforded me a means to waste my time in the most inane and the pointless fashion. I have been guilty in the past of the heinous crime of using one at the dinner table and whilst conversing with someone and not giving the said person my undivided attention. However, this particular outrage is now verboten in the Peril household.

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Ultimately this situation (which was relatively short) has afforded me a unique opportunity to reflect upon my smartphone usage. I have taken a day to ponder upon the impact that technology has on social dynamics and human interaction. And having done so, I concluded that I am very glad to have my smartphone back. Have you tried talking to real people? They're absolutely awful! What with their tabloid opinions and garrulous inanities. No I don’t have a hot take on Meghan Markle nor do I give a shit about whether you have a holiday this year. Furthermore I am still peeved by the fact that I had to buy a SIM adaptor kit so that my nano SIM card could fit into my retro handset. The bastards charged me £4 for three pathetic pieces of plastic and a pin. No wonder these companies are rich! And there is absolutely no truth to the rumours that I was especially upset because I couldn’t easily watch videos of  Fu Bao the Panda at Everland in South Korea.

Soft Launches

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I thought Magic Legends was being beta tested when it appeared on my Arc launcher along with PWE’s other games. Silly me. Apparently, I was mistaken and Magic Legends is being soft launched. Because the game is selling stuff already. To date we have an unoptimized game suffering major performance issues and lag, with the added bonus of an egregious monetisation. People aren’t happy. There are all the technical issues associated with beta testing along with the early introduction of a predatory business model. Bravo. The idea of a soft launch is to maintain a relatively low profile, compared to a traditional hard “the game is totally ready” launch. That way you can tinker with your game client in a reactive fashion and introduce new features, ensuring that you keep your current customers onboard. However, if you do it wrong, you can piss off not only your existing customer base but cause a stink that prejudices future punters.

There is reason and logic behind soft launches. If you search via Google you’ll find numerous articles about the subject extolling the virtues of this business practice. If implemented correctly, it can yield the following results:

• Determine which market you’d like to target on full launch.

• Pick the most suitable location for your soft launch accordingly.

• Optimize your games online presence.

• Measure your success in acquiring new users.

• Find out at what point you’ve successfully retained a new user.

• Calculate the “Life Time Value” of users.

• Evaluate your monetisation model.

• Determine how your users like to share your game with others.

• Fix any bugs that users report.

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However, if you undertake all of these with the subtlety of a blow to the head with a Teflon frying pan, you’ll more than likely fail. Because as you can see, a soft launch is a practise designed primarily to benefit the vendor of the product, rather than the customer. And customers, especially gamers like to be made to feel special (IE told a load of old bollocks). If they realise they’re just a rat in a maze, then they tend to take it personally. Which is why I prefer the old school practise of alpha and beta testing, followed by the launch of a completed product that is good to go. Sadly, that is something we seldom see in the video games genre these days. The industry has become aware that they can get away with things, despite the pushback and opprobrium that comes with pre-orders, soft launches and day one patches.

All too often the lifecycle of a game is as follows. A hyperbolic announcement followed by an excess of hype throughout the development. Early access that is a hot mess followed by a cheeky soft launch of a flawed and incomplete product. The first six months is filled with player hostility until multiple patches eventually lead to a viable release. All sane players opt for the “game of the year edition”. Overall, it’s a very unsatisfactory system. Yet despite all the cogent arguments raised against it, such practises continue to prevail and are indulged because a percentage of gamers are overwhelmed by the hype tsunami and a “take my money now” mindset. Hence it will be interesting to see whether Magic Legends has “pissed on its chips” to coin a British colloquialism, or whether six month from now, all will be forgiven or forgotten. I have a feeling it will be the latter, which is greater news for business but bad news for consumers.

Do We Really Need "Living Worlds"?

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There is a cogent argument to be had that the MMORPG genre has never really hit its full potential. Too many of them do the same thing and there is a long list of features that are conspicuously absent, that players habitually complain about. The debate is further “complicated” (like so many pop culture “debates” are) by one’s own relationship with the genre and what is best described as “personal baggage. Some players will eulogise about older games such as Ultima Online and EverQuest, extolling their lack of features and grindy nature as some sort of character building form of gaming self flagellation. Players with a more contemporary experience of MMOs are subsequently ambivalent towards social interaction and content gating. Hence if you ask a broad spectrum of MMO gamers what features they’d like to see in a new game, you’ll get a commensurate broad spectrum of answers. After 15 years of playing MMOs I’m not sure that I can adequately articulate my own thoughts on improving the genre. We all seem to want some sort of change but beyond that it all gets rather vague.

Furthermore, it’s not just a question of what players desire. Let us not forget that the video game industry has its pioneers, grandees and sacred cows who still have plenty to say on the state of the genre and the lofty heights it has still not reached. Such luminaries as Raph Koster and Richard Garriott. Although their contributions to the genre cannot be denied, are they really as relevant nowadays as they were a quarter of a century ago? (Wilhelm Arcturus explores this very subject in more depth in a recent post). Whenever I read an interview with such individuals, although they will broadly allude to notions of a future MMO being a truly “living world”, they are always somewhat light on detail. Plus it often comes across that there is an element of age based and institutionalized bias against current trends. I am reminded of old rock stars decrying the state of contemporary music or Martin Scorsese being nonplussed by the popularity of superhero films.

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Therefore, as per usual with most matters of debate, it’s not all black and white. However, let us for the sake of argument focus on a common mantra (and one that Mr Koster still evangelises about), the notion of an MMO that is a “living world”. A virtual world in which player actions have a tangible impact. Communities would have to be built from scratch and maintained. Players would be free to pursue any career path they wished. The environment would be seasonal and subject to the caprices of nature. Its ecosystem would have to be managed. The game would develop an economy and a degree of self governance. A living microcosm of our own world that could be accessed from a desktop PC, a console or mobile device. It all sounds both exciting and alluring. Initially. And then when one takes the time to ponder how all of this would pan out, it quickly begins to fall apart. Because some people when free from the restraints of social convention and consequence go native. Hence an unfettered “living world” would possibly soon become a “living hell”.

The sad reality is that any proposed “living world” would have to be heavily regulated and moderated if it wanted to survive in any viable way. More rules would lead to more constraints and so the dream diminishes exponentially as the regulations grow. Furthermore, I’m not sure if providing a complex, virtual alternative to reality is actually a healthy thing for society to begin with. If real life is too bleak, crushing and depressing to cope with, that vast swathes of the population seek to escape from it, then it is indicative that our system of government has failed outright. It may be somewhat melodramatic but a faux world that presents itself as an escape could well end up being a gilded cage. And if we step back for a moment from the theoretical, the Holy Grail of a “living world” is predicated on the fact that people reject what is currently on offer from the MMO genre. Oddly, enough the numbers and revenue generated from existing games seem to fly in the face of such a supposition. Therefore, perhaps the best place to start with improving the MMO genre is to add some desirable yet practical new functionality, rather than jumping off at the deep end and trying to create a virtual Shangri-la. And even if such an environment could be created, do any of us have the time to invest in such a world? I think not.

Choosing a New Game

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I want to talk about how we choose a new game from the countless titles that are currently available. I am going to be candid about how I do this as well as my own personal biases and prejudices. Because I am not open to playing any type of game. Like so many other aspects of life, I have very clear likes and dislikes that can only be tempered so far with logic and rational thinking. Video games as far as I’m concerned are supposed to be engaging, entertaining and inherently enjoyable. I don’t mind a degree of challenge and I’ll grind to achieve a specific goal, if I feel the reward to effort ratio is acceptable. I will on occasions attempt to step tentatively out of my comfort zone. However, there are some things that I simply don’t like, so they will not be considered. I think the best analogy for this is food. There are certain meals that I have tried (sometimes several times) and disliked, so they won’t ever be eaten again. Then there are other meals that contain ingredients I dislike or that are cooked in a style that I don’t enjoy. These are also off the proverbial table (no pun intended). 

So what games do I like? Well both the NES and SNES have had an impact upon my tastes. I consider the Mario Kart franchise to be nearly perfect. It is accessible and yet challenging. It also makes competitive gaming far more palatable as it is not bombastic or bellicose in either defeat or victory. I also enjoy a well balanced FPS and will certainly recommend CoD Warzone as the epitome of encapsulating that genre well. But my heart belongs to narrative driven RPGs and MMORPGs. I like involving and challenging stories, set in detailed worlds. I also like to have access to games based around major franchises that I revere, which is why I enjoy Star Trek Online and the Lord of the Rings Online so much. I’ve also dabbled with the strategy genre on occasions, along with deck-building games and point and click adventures. I even have a few simulator games in my extensive game selection. However, it should be noted that possibly 80% of said collection remains unplayed.

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I can be just as specific about the game genres that I don’t like as I am about the ones I do. I am not a fan of PVP. Although I enjoy the FPS genre as this can be a far more balanced PVP environment. However, too often PVP is predatory and an uphill struggle for new players. I pay money to game developers to be entertained and not to be served up as canon fodder for established players. I don’t care for the mindset and elitist culture that also goes hand in hand with PVP and many other competitive games. Games that are couched in self aggrandisement and vanity are often breeding grounds for the most toxic aspects of gaming culture. I also eschew certain games on aesthetic grounds. The human experience is driven greatly by visual data and the way we interpret the world by how we see it. So to deny that we make decisions about games based upon how they look and the way they’re visually presented is crass. Hence I don’t like the isometric style. Nor do I like the anime visual aesthetic found in many games. I broadly prefer realistic graphics over cartoons, although stylisations can be very appropriate at times.

Therefore, when trawling through YouTube videos advertising forthcoming game releases, it is quite easy for me to quickly and efficiently assess what is and isn’t of interest to me. Plus its important to add that all the above rules are open to occasional contradictions. Hand of Fate and its sequel drew me into a genre that normally I wouldn’t have considered. More interestingly, sometimes there will be a new game that is broadly outside of what I like but it is getting a lot of traction among my peer group. So despite being a mature and grounded 53 year old, I am not immune to FOMO and a lot of other curious psychological phenomena. Naturally, there is an allure to joining your friends and being part of the current “in thing”. I recently succumbed to this and bought Cyberpunk 2077 and the reality of the game quickly shattered the hype and mystique that had prevailed up until launch. I have also written before about how odd it is to have missed the entire World of Warcraft “boat” over the years.

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Earlier on I used a food based analogy to describe my likes and dislikes and equate this to video games. Once I have established that I don’t like something it is added to a prescribed list. However, most analogies don’t hold up to close scrutiny and although the part about my process for establishing a preference is accurate, I am far more willing to try new foods than I am video games. Upon mature reflection we all have our own bespoke assessment of what we want and don’t want from a video game because we all have a subjective definition of what actually equates to a game per se. I broadly agree with the notion that it is good to challenge yourself and step outside of one’s personal comfort zone. But you don’t have to do this habitually or else you’ll end up playing more games you dislike than like. I think it’s important to be self aware of one’s tastes and to be realistic about them. Yet the vast amount of free of heavily discounted games available do allow for greater experimentation. As ever there is a middle ground for each of us to find that offers us the best path forward.

Need or Greed?

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In the dim and distant past when the world was young and the MMORPG genre still focused on the social element of multiplayer online gaming, there was a curious social etiquette associated with the acquisition of loot, enforced by the “need or greed” rule. This rule works as follows. When an item of loot drops after an enemy mob is killed, all members of the group that killed it have the option to claim the item. Upon doing so, they are presented with a choice of “need or greed”. If one or more persons in a group selects "need", they roll a virtual dice and the person with the highest roll gets the loot. If you choose "greed" when the majority of other players have chosen “need” you are effectively forfeiting any claim upon the loot item. If everyone selects "greed" then again, then there is a virtual dice roll and the player with the highest score receives the item. This system is intended to encourage players not to roll on items that they didn’t need (IE a ranged weapon for a melee character) and to foster an atmosphere of fair play and equanimity.

However, over the years, the social aspect of MMOs has diminished and the validity of the “need or greed” rule is now in question. Gaming has become a lot more transactional and simply put, many players will expect something shiny as a reward after completing group content. Quid pro quo and all that. Hence it is nowadays common practice to roll “need” by default in all looting situations. If an item is not specifically relevant to you but can be sold to a vendor for in-game currency then that is a big incentive. Logically, any opportunity that increases your in-game wealth is desirable, especially in light of how hard it can be to obtain “gold” in some MMORPGs. Furthermore, with the proliferation of auto grouping in games, there is little or no personal connection to the other players. This results in a reduced sense of social obligation as you are not potentially denying a fellow guild mate but just competing against a random stranger.

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Therefore, all things considered, isn’t it time that this particular game mechanic was sidelined and replaced with something more functional and socially appropriate?  Perhaps the simplest solution (at least with regard to low level loot drops) is to allow them to be claimed by all parties. In the same way that some game developers have now made “ore nodes” and other environmental resources “shared” and non-competitive. Perhaps it may even be time to reconsider the entire game mechanic of “trash loot” within the MMO genre. In the meantime, continuously having to roll on loot in group content is simply a tedious reality that has to be endured. Especially in games that don’t support addons that can discreetly automate the process. However, we live in hope that sooner or later, the MMORPG will finally join the rest of gaming in the 21st century and that “need or greed” will be consigned to the history books.

Fandom: Experiencing the Same Thing Differently

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I like films. I have done so since I was a young child, mainly because we watched them as a family. Furthermore, both my parents weren’t just casual viewers. They were fans who were knowledgeable about their hobby. Plus they came from a generation where going to the cinema was a major part of their life and a very accessible pastime. Hence my love of film, filmmaking and analysis. But like any form of fandom, it can often be a very broad church. For example, I may be at a social gathering such as a dinner party or a fundraising event for the Humber and District Catholic River-Wideners Club and I strike up a conversation with a stranger. The stilted conversation turns to film (or more informally “movies) and for a brief moment, there is the possibility of a shared interest. However, if the other party then indicates that they are a committed advocate of the works of Ben Stiller, then that common ground evaporates like a politician's promises after election day.

Belghast wrote a very interesting blog post today about “subculture and gatekeeping” and how fandom is often very personal as we seek to define ourselves during our teenage years. Hence it can lead to a sense of ownership and even gatekeeping. Tangentially, one sentence in the post stood out for me and is relevant to the theme of this post. "RHCP (Red Hot Chilli Peppers) had sorta been one of those arcane signals of belonging that helped us find more members of our tribe. Even though that “tribe” was contorted as fuck because none of us actually had the exact same ideals or beliefs or even hobbies". That is a succinct description of the point I was making earlier. E.g. “I like movies. You like movies as well? Oh, you like those movies”. Again we return to the concept that fandom as a broad church and that a shared interest does not guarantee that you and the other party will have lots of other things in common. Something I discussed at length in a post about a shared love of Tolkien and how I was surprised when I found out that his work found traction with politicians I’m “at odds” with.

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However, differing opinions can be a good thing and provide an alternative perspective upon a shared interest. They can also provide an opportunity to reappraise something. Film criticism is not pure science. One can make comments made upon objective facts, such as how well a film is edited, the quality of the cinematography and other technical aspects of the production. But whether a joke is funny, a character is likeable or a story arc is engaging or not is ultimately very personal and subjective. It comes down to taste and one’s own expectations. Which brings me to the point that sparked this post in the first place. The 1978 conspiracy thriller, Capricorn One. Blogger and writer Syp shared his thoughts on the film over at Mutant Reviewers. They differ from mine and it would appear that the aspects of the film that I specifically like, Syp does not. I like the seventies hard boiled dialogue and focus on verbal exposition. I also didn’t have an issue with the pace of the film.

I briefly spoke to Syp via Twitter regarding this, not to instigate a fanboy bunfight but to determine his perspective and it highlighted some very interesting points for me. Contemporary film and TV has a particular idiom and certainly a very fast pace, compared to material from the eighties and older. Hence if you are watching a TV show from the seventies or a movie from the forties, then it requires a form of mental recalibration so that you’re prepared for the obvious stylistic and technical differences. That is fine if you are approaching the content in a scholarly fashion or for an in depth critical analysis. If you’re simply watching for entertainment, then having to make that shift in perspective is quite a big ask and not necessarily one that is conducive to having fun. It is important to remember that we don’t all have the same relationship with a shared fandom and that we don’t all approach it with the same intent.

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Every form of fandom has its own set of self appointed gatekeepers. They’re often also responsible for perpetuating an apocryphal dogma and trying to convince us it’s somehow legitimate. For example, in film fandom there is the cult of Stanley Kubrick in which any deviation from the consensus of his genius is deemed as heresy. Although I will strongly argue positively regarding the technical and thematic talent of the filmmaker, I would not say that all his work is accessible to everyone. The “detonator” for this particular debate being 2001: A Space Odyssey. As far as I’m concerned it is perfectly acceptable not to like a so-called “cinematic great”. I don’t care for Ridley Scott’s Blade Runner. I recognise the skill inherent in its making and I understand it’s cultural significance (like certain literary classics) but I don’t warm to the film.

So today was a timely reminder that the only universal constant in fandom is the inherent difference between fans themselves. I shall continue visiting Mutant Reviewers specifically because they will continue to offer an alternate view to my own, on many films that I love. Furthermore, those views are backed up with valid arguments, which is good because reviews that aren’t are ultimately just a series of unqualified statements. I will also continue to gently encourage people to step outside of their personal boundaries and to give wider material a try. However, I won’t give them a hard time if they do so and subsequently don’t enjoy the experience. Fandom is about shared enjoyment and enthusiasm, although paradoxically, that itself can be used to reinforce hierarchies and can lead to preposterous gatekeeping and the nonsensical “true fan” fallacy. Stay clear of all that. You do you. And if you really like the work of Ben Stiller, then so be it.

LOTRO: Day, Night and Weather Cycle

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I don’t know about you guys but whenever I log into The Lord of the Rings Online, it’s usually night in the game. This is a curious anomaly that can be somewhat frustrating if it’s the test server and I want to take some screenshots of new content. I put this down to the fact that I usually log in to LOTRO in the evening, here in the UK and I am unfortunately in sync with the Laurelin server night time phase. Sadly, there are no third party addons that can track the in-game time and server reboots always reset the game’s internal clock. However, I do like the fact that the game has a clear day and night cycle, which adds greatly to the overall ambience of LOTRO. Both of these phases have subcategories, all of which persist for specific times. Here is the cycle as it stands at present in the game.

Day Time lasts 1 hour 42 minutes 20 seconds

Dawn = 9 minutes 32 seconds 

Morning = 28 minutes 42 seconds

Noon = 17 minutes 47 seconds

Afternoon = 27 minutes 58 seconds

Dusk = 18 minutes 21 seconds

Night Time lasts 1 hour 23 minutes 40 seconds

Gloaming = 9 minutes 30 seconds

Evening = 27 minutes 59 seconds

Midnight = 8 minutes 59 seconds

Late Watches = 19 minutes 1 second

Foredawn = 18 minutes 11 seconds

Apart from giving the virtual Middle-earth a greater sense of realism, could this game mechanic be used for quests? Well initially it was. In an earlier iteration of LOTRO (circa 2007 - 2008) there were several quests that were night time specific. The ghost in Bree was nocturnal and one story arc had you meeting a Brigand infiltrator, again only at night. However, despite this time mechanic adding ambience to the proceedings, it was a nuisance if you received such quests at the wrong time of day. You could find yourself having to wait 90 minutes which is not a lot of fun in an MMO. Unlike single player games that use this mechanic, you cannot advance time in a shared world. Hence these quests were altered to allow access all of the time. It is also why we don’t see NPC and vendors keeping working hours and returning to their homes at night. So sadly, the day and night cycle is purely cosmetic in LOTRO as it now stands.

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There are also random weather changes in LOTRO although there is nothing that can be clearly defined as a cycle. Sometimes I’ll log into a zone and it will be raining or overcast but broadly speaking the weather in a place such as Bree is predominantly temperate. Some zones have differing weather for geographical reasons. Naturally, the Misty Mountains are snow covered and the snow fall becomes heavier the higher you climb along the cliff top paths. Other parts of Middle-earth have bespoke weather for thematic reasons. Angmar has a sickly green coloured, overcast sky, reflecting the evil that blights the region. Allegedly the darkened sky is to accommodate the passage of Orcs, who have an aversion to daylight.  Again, it would be nice in principle to have some weather themed or dependent quests but gating content behind a mechanic you may have to wait on,  is not going to be well received.

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The MMORPG genre is filled with game systems and mechanics that have been tentatively introduced and then left unfinished by the developers. Often because of the complexity inherent in such systems or because the idea being “tested” was not liked by all players. Weather cycles and the passage of time are such examples. Both of these could play a more active role if the developers of games such as LOTRO felt so inclined. I would be happy to see the return of quests that were time dependent. It would be nice to have some aesthetic details that only happened at certain times or dates. Such as Elves camping out beneath the stars. Or NPCs that come and go in towns such as Bree. Perhaps even animals that graze in fields by day and are then rounded up and taken to barn at night. Such things would add a lot to a game. But at this point in LOTRO’s lifecycle it is unlikely that resources would be used to develop such content.

Zack Snyder's Justice League (2021)

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I enjoyed both Man of Steel and Batman v Superman: Dawn of Justice Ultimate Edition and consider them to be more than just standard, visual effects driven blockbusters. Zack Snyder’s exploration of the DC Expanded Universe blends the mythological fantasy of metahumans with a more cerebral dissection of their role in society. The political and philosophical dimensions of their presence is a key theme in both films. As a consequence there is ambiguity, darkness and violence. Snyder certainly has a penchant for visual flair, as seen in previous movies such as 300 and Watchmen. But his directorial style seems to be at odds with the very studios that employ him. Snyder tells a story in however much time it takes. Studios prefer standard running times that lend themselves to as many screenings a day, as possible. Hence there is always a clash of ideas and sadly those that hold the purse strings usually get their way.

I see no reason to go over the sad circumstances that lead to Zack Snyder leaving the post-production phase of Justice League in 2016. Simply put Warner Bros. wanted the film to be released on schedule and so Joss Whedon was brought onboard to complete the production. 80 pages of rewrites and two month of additional shooting later led to a radically altered movie. It was demonstrably different in style as well as tone and it failed to find an audience. I found it to be ponderous, underwritten and underwhelming. Warner Bros. were far from pleased by the box office returns. Justice League, released in late 2017, merely yielded double its production costs, making $600 million. Roll on 4 years and we now have Zack Snyder's Justice League. A director’s cut of the film which is far more aligned with his original vision. Due to the pandemic, this version has gone direct to subscription services and has not seen a theatrical release. It would’ve been interesting if it would have fared any better at the box office second time round.

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Before I start with my thoughts on Zack Snyder's Justice League, let me put my cards on the table. I am not a fully paid up DC aficionado. My exposure to this comic franchise is mainly through previous films. I have no knowledge of the wider lore, nor do I have any personal baggage with regard to personal attachment to characters. I grew up with Christopher Reeves as Superman and his performance was totally applicable to those times. However, that cinematic interpretation is era specific and not necessary now. So I consider myself open minded with regard to this franchise. What I expect from a film such as Zack Snyder's Justice League or indeed any other major franchise movie is for it to be accessible to both existing fans and the general public. Films of this nature need to engage with a much wider audience to be financially successful. Hence I expected Zack Snyder's Justice League to have a coherent narrative. Something the theatrical cut was lacking.

Mercifully, Zack Snyder's Justice League has a very linear and episodic story. In fact it is divided into chapters delineating the plot into specifically themed sections. This not only reflects the essential structure of comics themselves but allows the viewer to digest the sprawling narrative and its respective themes. There is a lot of exposition at various junctures in the story arc so breaking things down in this way again helps with making the plot accessible. Zack Snyder's Justice League is double the running time of the theatrical cut and clocks in at over 4 hours. Effectively all material that Zack Snyder shot has been reinstated and a great deal of it is character backstory. There are also major changes to the film’s visual FX, with villain Steppenwolf having a major makeover. Danny Elfman’s score has also been replaced by a new one by Tom Holkenborg. For a comprehensive breakdown Den of Geek has a very thorough article listing all differences. 

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The question on everyone’s lips, be they a layperson or a hardcore fan, is whether Zack Snyder's Justice League is better than Joss Whedon’s theatrical version? The answer is most definitely “yes” but that’s not to say that the film isn’t without faults. Perhaps the most positive change that standouts from the new director’s cut is the focus on each character’s motivation. This is especially beneficial for Victor Stone/Cyborg (Ray Fisher) whose backstory was utterly negated in the theatrical release. Here we see the troubled relationship he had with his Father and the tragedy of his Mother’s death and his own near fatal accident. His abilities show him the injustices of the world and how even a man with his powers would struggle to effect meaningful change. His story arc is far more engaging, meaningful and poignant. Similarly Arthur Curry/Aquaman (Jason Mamoa) has more depth to his story and does not come across as simply bellicose as he did in the Whedon version.

Zack Snyder's Justice League also offers a far more rounded and interesting villain this time round. Steppenwolf, voiced by Ciarán Hinds, now boasts a more threatening design and now has significantly more screen time, offering viewers an insight into his motivations and aspirations. Instead of being an arbitrary “bad guy” who is simply there to do “bad things”, we now have a character who is struggling with the internal politics of his own faction. Steppenwolf is a lieutenant who is seeking to advance his position after previously erring in his duties. He needs to get back in the good graces of his master, Darkseid. However, he does not have direct access to him and is forced to communicate via DeSaad, Darkseid's consigliere. Although far from Shakespeare, it is much more engaging to have an antagonist that has some depth to them, rather than just being a thematic placeholder. 

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However, Zack Snyder's Justice League is not without flaws. It is a little tonally inconsistent when it comes to the depiction of violence. The epic flashback to the Age of Heroes has a surprising amount of bloodshed compared to other sequences. Random acts of violence occur through the remainder of the film and every now and then, one will be somewhat more visceral than others. But perhaps the most incongruous aspect of Zack Snyder's Justice League is the inclusion of yet another vision of an apocalyptic future. This worked very well in Batman v Superman: Dawn of Justice Ultimate Edition, showing a possible timeline in which Superman had gone rogue due to the death of Lois Lane. But considering that a major element of Zack Snyder's Justice League is the necessity to bring Superman back from the dead thus restoring not only a balance of power but reiterating him as a force for good, it seems self defeating to infer the possibility that all of this may be for naught.

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Naturally, fans of Zack Snyder’s work and his vision for the DC Expanded Universe, will enjoy this new director’s cut and extol its merits from a fans perspective. I certainly enjoyed it more than the theatrical release and was glad to see the back of the changes that Joss Whedon made. Barry Allen/The Flash (Ezra Millar) is no longer a trite comic foil and the new cut eliminates the rather crass diminishing of Diana Prince/Wonder Woman (Gal Godot) via all the flirting and objectification. For those who may be put off by the prodigious running time, the film now lends itself to being watched in instalments. The 4:3 aspect ratio is somewhat curious, although Snyder has stated that the film was shot open matte to make the framing optimal for the IMAX format. Paradoxically, Zack Snyder's Justice League is currently non-canonical. Joss Whedon’s theatrical cut made tonal and narrative shifts that have been continued into subsequent films. The success of the director’s cut may instigate a major course correction to this franchise. Or not. Studios seldom care about continuity, lore or even logic in comparison to the bottom line.

LOTRO: Buy or Subscribe?

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I’ve been playing the MMORPG, Lord of the Rings Online, since December 2007. During that time I have purchased all the expansions that have been released throughout the games lifecycle. Initially, I subscribed to LOTRO as this was the only way to play the game. When Turbine adopted a free-to-play hybrid business model in 2010, I continued with my subscription as it offered a means to access new content (all updates are free to VIP account status players) and provided a monthly stipend of 500 LOTRO points. Naturally, over time one’s relationship with a game changes, especially an MMORPG. So in more recent years I have played LOTRO mainly when there is new content available. Hence I only subscribed on such occasions. Then in 2020, Standing Stone Games, made all the content included in the VIP subscription, free for a limited amount of time. I claimed this offer and found myself the owner of everything in the game up to Update 27: The Great Wedding.

So today’s release of Update 29: The Wildwood raised the question as to whether I should subscribe to LOTRO once again. It only costs £8.99 and I’m certain I could complete all relevant new content within a month. However, another option would be to buy the quest pack for the new content from the LOTRO store (currently priced at 1195 LOTRO points). The decision was an easy one to make as I still had 2000 plus LOTRO points available from past subscriptions and previous points purchases. Hence I bought the quest pack and unlocked all the relevant content. Although all the PVE content in The Wildwoods is level 45 (level cap players get to play scaling missions), I shall still complete it all. Not only does it provide a new story arc to enjoy, it also is a source of virtue deeds. As the virtue level cap has been raised to 74, completing deeds in the new zone is a convenient way to maximise those virtues I have currently equipped on my primary alt.

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This situation raises the question as to whether I shall ever subscribe to LOTRO again. I play the MMO mainly when there is new content to experience and once completed I tend to put the game on hold. If I did not own all the prior released content, then subscribing when I do play would be the sensible thing to do. As it stands now, a subscription offers very few tangible benefits. The biggest is the stipend of 500 LOTRO points. However, there is very little in the store that I want. A great deal of items on sale are cosmetic. If I buy anything it tends to be deed and reputation accelerators. As for the benefits of accessing your mail away from a mailbox, it is certainly something I can manage without. I believe that the daily login Hobbit Presents are superior for subscribers but again, I am not aware of anything essential that I am effectively missing out on. And because I have subscribed in the past I do not have to worry about the currency cap, chat restrictions and reduced wardrobe and inventory slots.

I suspect that this situation is far from unique to me. LOTRO has a long established player base. Many of which bought lifetime accounts. Those that didn’t, like myself, really considered last year’s content giveaway by SSG to be the next best thing. Therefore many others must also consider subscribing to be of no major value. Such a scenario may impact upon revenue. Perhaps it is time for SSG to reconsider what VIP status offers players and improve rewards to make subscribing more worthwhile. However, this needs to be something wholly new and beneficial rather than just gating an existing function behind a paywall. Perhaps the new owners, EG7, may have some thoughts on the existing subscription service. Some players spend money in game simply to support SSG but basing your business model on the charity of your players doesn’t strike me as ideal. It will be interesting to see if any changes of this nature occur this year.

Thoughts on Blogging Part 13

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I mentioned not so long ago the possibility of a website revamp. I was concerned that the general layout of the blog was not optimal and that readers couldn’t easily find old material. In the past I even went as far as to write a guide to navigating through Contains Moderate Peril and using the categories to find old posts. Well I got a few emails and Twitter DMs about this and it would appear that folk like things just as they are. So I have reviewed my position and decided to leave things as they are at present. I did a little digging though my website stats, both from Squarespace and Google Analytics and it would appear the summary blocks at the bottom of each post are used and that the bounce rate for my site is not exactly as it first appears. Seems that readers do peruse other articles and the search facility is being used more often, especially for finding film reviews. So if it ain’t broke, don’t fix it.

However, although I no longer have to immediately worry about overhauling my website, I do currently have an issue with productivity. I used to write a blog post everyday but that hasn’t been a regular fixture for six months or more. It’s not that I have a lack of ideas or material. On the contrary, I’ve pages of notes on films that I’ve watched recently that can easily be used for a review. I also have numerous lists of bullet points and prompts for blog posts on gaming and a wide range of other subjects. The main issue at present seems to be a question of motivation and actual physical stamina. The latter is a matter under current medical investigation which I may write about shortly. The issue of motivation is a perennial problem for bloggers. For me, it comes down to a mixture of discipline and routine. I do my best writing in the morning and free from disturbance. Effectively I need to get up and write straight away and sadly I haven’t been doing this. 

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As previously mentioned, I’ve been using the statistical analysis of traffic to Contains Moderate Peril and have been trying to find out exactly what data it can yield. Squarespace has a default analytical package that produces some interesting information but Google Analytics proves to be the more detailed of the two. Despite now only posting every other day, traffic to the site is growing at present. Popular UK TV station Talking Pictures TV, which broadcasts a lot of vintage, classic and niche market film content, has inadvertently caused an increase in visits to my blog. Many of the films that they show, I have existing reviews for. Viewers are perusing Google, searching about these titles and finding my work. All of which indicates how review posts can have shelf life beyond their immediate publication. Hence an increase in review posts may well prove beneficial in generating further traffic and growing the overall site audience.